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22 Dreams is the newest record by Paul Weller, released in June, and marks his first-ever double album in a career that spans, oh, 13 solo records now, plus his robust catalog from Style Council and The Jam.

He’s pulled Blur’s Graham Coxon and Oasis’ Noel G and gem archer into the mix on some of the record’s 21 tracks too. Guitar virtuoso Aziz Ibrahim, who had a cup of coffee w/ the Stone Roses, also cameos w/ a spoken word rap that is… not annoying, kinda interesting.

With liner notes contributed by British writer Simon Armitage, I was initially led to believe that Weller was motivated by Simon Armitage’s work. Such is not the case, though the liner notes are worth a read for any music geek.

Overall, the modfather, who recently turned 50, has produced an interesting, listenable record. His voice is in fine form. If you liked his early solo work, a la Wild Wood and Stanley Road, you may like 22 Dreams. It’s one of my favorites of the year so far, heading for my top 10 list.

Dad-rock? Maybe for some, because it’s got some folky moments and some decent love songs (though not sappy). But Weller doesn’t spend any time belly-achin’ about getting old. Instead, he’s committed to this dream scheme. Now if someone would just convince him to get a new haircut.

Quantity over quality? Time will tell if it is both. But it’s been a productive year for Erykah Badu, regardless, with 1 record out already, a bun in the oven and a couple more records on the way.

What I’ve heard of New Amerykah, Pt. 1 is pretty cool, and some of the critics seem to dig Pt. 1 (which was released way back in Feb). Haven’t heard Part II yet, which was supposed to be released in July, so can’t comment.

But I laughed at the way she tweaked Gwen Stefani in her interview with Wired (June 08).

Well, Barenaked Ladies frontman Steven Page professes to want to buy some lucky lady a house, furniture, a fake fur coat, an exotic pet and even John Merrick’s remains.

But now we know what he’d do with his leftover change.

‘Yeah, it’s cocaine’: Page court document

Interesting that their own website is already refuting the published reports. But of course, they’ve got to, considering they are marketing an album of children’s music right now. Ha! Who knew they were so rock ‘n roll?

Another Chicago band, The M’s, has me under its spell. And I’m not totally gaga over their latest record either (Real Close Ones), but I dig their sound, obviously influenced by classic rock/power pop like the Kinks, early Who, T-Rex, Big Star… and I keep going back to it.

In case you aren’t familiar w/ them, check out this review from prefixmag.com, which I don’t completely agree with, but which does a good job of identifying their gradually changing sound.

For instance, I don’t hate “Breakfast Score” like Winistorfer does. I think it sounds like they are channeling Wilco in this song, which shouldn’t surprise since they are friends w/ Wilco and have opened for them before. Anyway, check ‘em out.

WTF? Will these guys ever quit doing things before the rest of the music world has a chance to do SOMETHING original? I mean, jeez!!!

It seems that they’ve gone off and shot some sort of fancy new video with some revolutionary technology. Talk about pretentious innovation! Always having to remind the everyone that they are the definition of cutting edge. Who the hell does this band think it is?

http://gizmodo.com/5024019/new-radiohead-video-is-shot-with-lasers-not-cameras

It’s pretty f-ing cool if you ask me.

I used to sit next to Local H drummer Brian St. Clair in Jr. High home room. Even back then he was obsessed with the drums; always drawing kits on his notebooks and talking about what pieces he had, what pieces he was gonna get. Brian’s worn his hair the same way since he was in 8th grade.

I’ve followed his music career from a distance, and I rooted for him and Wes Kidd when they were doing triplefastaction (since they were local guys I watched play together since their teens).

Anyway, St. Clair and bandmate Scott Lucas were the subject of Illinois Entertainer’s June cover story, and they recently wrapped a week at the Beat Kitchen in support of their latest record, 12 Angry Months.

They also were on Carson Daly last month promoting their new record. I was so inspired by this video I bought a couple of their CDs. But not so inspired that I wanted to break up with someone…

Local H - “24 Hour Break-Up Session” on Carson Daly

I received an interesting email this morning from iTunes regarding my purchase a few weeks ago of Radiohead’s In Rainbows - From the Basement (iTunes link), which consists of 10 live performances (videos, not just audio) for the no-brainer asking price of $7.99. Apparently the tracks I downloaded were protected, but should have been sold as DRM-free iTunes Plus tracks.

We all know how Radiohead feel about DRM, so I guess this correspondence isn’t that surprising, but I’ll be interested to see if there’s any fallout between the newly forged relationship between Radiohead and Apple.

Beno inspired what I hope will become a new regular on RTP. It’s probably been done everywhere, but eff it, I think it’s funny.

“But not for us, right fellas!? Right? Johnny, where’s that hand of yours?

I was lucky enough to score tickets to Liz Phair performing Exile In Guyville, one of my all-time favorite albums, in its entirety at The Vic last night. Liz looked amazing and it was really refreshing to see her revisit Guyville without having to wade through some of her more recent un-loved material.

There were a lot of standout songs since the album is still amazing 15 years later, although I particularly liked the stripped down tracks like Dance Of The Seven Veils and Canary. There wasn’t much banter but when she did address the audience she was very humbled to be back in Chicago and playing Exile’s tunes. She said “Chicago was special, Exile was special, and Chicago and Exile together was particularly special.” It was a really great evening, particularly since there was no opener. She did reluctantly play an encore with Chopsticks from Supernova a new song which was a rip on some record executive (turns out she’s still got some anger in there…) and Polyester Bride from Whitechocolatespaceegg. No stage fright to be seen even, which is very different from the first time I saw her at Clutch Cargo’s in Pontiac when I was in college.

I love this new trend of full-album performances that’s emerged in the last 5 years or so, thanks in part to ATP’s Don’t Look Back series. (I’m bummed Built To Spill won’t be coming around Chicago with Perfect From Now On…) I just wish more bands would tour with these special shows - its a nice way to revisit some old material and remind us that albums are still relevant and important… especially if its a brilliant album to begin with.

RTP Radio:
WOMEN

Last night was the second of three sold out Swell Season shows at Chicago’s aptly named Chicago Theatre. Action-Squad’s fivecoat and I were in attendance, and had our hearts melted many times over.

A little backstory: I really like the Frames, the Irish rock and roll band that Glen Hansard has fronted since the ’90s. And I quite liked the film Once and its soundtrack, which almost exclusively features the Swell Season. Going into the show, I wasn’t sure what to expect. As a band, the Swell Season really only has the soundtrack and one previous release to draw upon, and a lot of the songs are the same on both (note to Benom: I see that “The Moon” song you liked is on the first Swell Season album). And I’ve listened to the soundtrack so many times that I didn’t really just want to hear them play every track and call it a night.

They did not. Of the first 6 or so songs they played, I think I knew 2. I’m not sure if the rest were from the first SS album or old Frames tunes or new songs, but they all sounded great. The appropriately but uncharactaristically subdued Frames (with a new drummer) were the backing band, and the sound in the Chicago Theatre is amazing, so even though a lot of the material was new to me, they had no problem holding my attention. I should not that it was also the most gracious crowd I’ve ever seen. The opening act (Daniel Martin Moore, album out on Sub Pop in Oct, good stuff) got a standing ovation. You can imagine how much they ate up the main act.
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